Produktdetaljer
Biografisk notat
Deborah Ascher Barnstone is Professor of Architecture and Course Director for Undergraduate Studies at University of Technology Sydney, Australia.
Elizabeth Otto is Associate Professor of Art History and Visual Studies, State University of New York at Buffalo, USA.
The content of the individual essays, and the remarkably strong apparatus of bibliographic documentation should render <i>Art and Resistance</i> a solid choice for libraries serving graduate-level programs in history, visual arts, political science, and German studies.
ARLIS/NA
This volume effectively reminds us of the tradition of resistant art in the German twentieth century and insists on its relevance to resist contemporary right-wing populism in Europe and the United States.
German Studies Review
<i>Art and Resistance in Germany</i> is an excellent volume that addresses the complex question of artâs power to resist political, economic, and social forms of domination. Taking us from the Weimar Republic to today, the essays complement each other as an exploration of the variety of definitions of resistance as it applies to culture. In the process, the authors also analyze canonical German artists and artworks anew as well as introduce us to entirely innovative works of art. From Grosz and Dix through Wilms and Hallmannâs Topography of Terror, the book is a fascinating intervention into the analysis of art and politics that has continued relevancy and increased urgency today.
Paul B. Jaskot, Professor of Art History, Duke University, USA
This collection of originally researched essays sheds new light on art in and as resistance across Germanyâs long twentieth century, providing a critical vocabulary for the analysis of art as politics and politics as artistic expression from the Weimar and Nazi periods to contemporary movements against right-wing nationalism. This volume will be indispensable in understanding Germanyâs particular place in the landscape of artistic resistance, from everyday registers of artistic action to the high art of leading sculptors and painters, graphic and collage artists, filmmakers and architects.
Kathleen Canning, Dean of the School of Humanities, Rice University, USA
In light of the recent rise of right-wing populism in numerous political contexts and in the face of resurgent nationalism, racism, misogyny, homophobia, and demagoguery, this book investigates how historical and contemporary cultural producers have sought to resist, confront, confound, mock, or call out situations of political oppression in Germany, a country which has seen a dramatic range of political extremes during the past century.
While the current turn to nationalist populism is global, it is perhaps most disturbing in Germany, given its history with its stormy first democracy in the interwar Weimar Republic; its infamous National Socialist (Nazi) period of the 1930s and 1940s; and its split Cold-War existence, with Marxist-Leninist Totalitarianism in the German Democratic Republic and the Federal Republic of Germanyâs barely-hidden ties to the Nazi past.
Equally important, Germans have long considered art and culture critical to constructions of national identity, which meant that they were frequently implicated in political action. This book therefore examines a range of work by artists from the early twentieth century to the present, work created in an array of contexts and media that demonstrates a wide range of possible resistance.
Introduction: Welcome to the Resistance!, Deborah Ascher Barnstone (University of Technology Sydney, Australia) and Elizabeth Otto (State University of New York at Buffalo, USA)
1. How Art Resists, Deborah Ascher Barnstone (University of Technology Sydney, Australia) and Elizabeth Otto (State University of New York at Buffalo, USA)
Art That Alters Worldviews
2. Cut with the Kitchen Knife: Visualizing Politics in Berlin Dada, Patrizia McBride (Cornell University, USA)
3. Existence-Minimum Architecture Walter Gropiusâs Dammerstock, 1929, Kevin Berry (University of Pennsylvania, USA)
4. Authority and Ambiguity: Three Sculptors in National Socialist Germany, Nina Lubbren (Anglia Ruskin University, UK)
Art That Inspires Action
5. Teach Your Children Well: Hermynia Zur MĂźhlen, George Grosz, and the Art of Radical Pedagogy in Germany between the World Wars, Barbara McCloskey (University of Pittsburgh, USA)
6. Parting Shots: Ella Bergmann Michelâs Wahlkampf 1932 (Letzte Wahl), Jennifer Kapczynski (Washington University In St. Louis, USA)
7. War Feeds its People Better: Meryl Streep, Brecht and the Limits of Revolutionary Theater, Noah Soltau (Carson-Newman University, UK)
Art That Critiques Symbols
8. Montage as Meme: Learning from the Radical Avant-Gardes, Sabine Kriebel (University College Cork, Ireland)
9. On the Subversiveness of Two Silverpoints by Otto Dix, James van Dyke (University of Missouri, USA)
10. A Whisper Rather than a Shout: Ursula Wilms and Heinz Hallmannâs Topography of Terror, Kathleen James-Chakraborty (University College Dublin, Ireland)
Art That is Created in Acts of Resistance
11. From Anti-Nazi Postcards to Anti-Trump Social Media: Resistance, Opposition, or Cold Comfort? Peter Chametzky (University of South Carolina, USA)
12. Opera as Resistance: Helmut Lachenmannâs Mädchen mit den SchwefelhĂślzern, Joy Calico (Vanderbilt University, USA)
13. Montage as a Form of Aesthetic Resistance Today: Marcel Odenbach and Thomas Hirschhorn, Verena Krieger (University of Jena, Germany)
List of Contributors
Bibliography
Index
Visual Cultures and German Contexts publishes innovative research into visual culture in Germany, Switzerland and Austria, as well as in diasporic linguistic and cultural communities outside of these geographic, historical, and political borders.
The series invites scholarship by academics, curators, architects, artists, and designers across all media forms and time periods. It engages with traditional methods in visual culture analysis as well as inventive interdisciplinary approaches. It seeks to encourage a dialogue amongst scholars in traditional disciplines with those pursuing innovative interdisciplinary and intermedial research. Of particular interest are provocative perspectives on archival materials, original scholarship on emerging and established creative visual fields, investigations into time-based forms of aesthetic expression, and new readings of history through the lens of visual culture. The series offers a much-needed venue for expanding how we engage with the field of Visual Culture in general.
Proposals for monographs, edited volumes, and outstanding research studies by established as well as emerging writers from a wide range of comparative, theoretical and methodological perspectives are welcome.
Series Editors
Deborah Ascher Barnstone is Professor and Head of the school of Architecture, Design, and Planning at the University of Sydney, Australia. She is on the editorial board of The Art Journal of the Art Association of Australia and New Zealand and has published widely in scholarly journals such as Journal of Architectural Education, Journal of Architecture, and New German Critique. Recent monographs are: Beyond the Bauhaus: Cultural Modernity in Breslau, 1918-1933 (2016) and The Break with the Past: Avant-garde Architecture in Germany, 1910â1925 (2018).
Thomas O. Haakenson is Associate Professor in Critical Studies and Visual Studies at California College of the Arts in San Francisco and Oakland, USA. He serves as Vice President of the U.S. Fulbright Association's Chapter Advisory Board, as well as on the Advisory Board and on the Summer Workshop Program Committee for the Berlin Program for Advanced German and European Studies at the Freie Universität in Berlin, Germany. He has been published widely, including in New German Critique, Cabinet, Rutgers Art Review, German Studies Review, and the anthologies Legacies of Modernism, Spectacle, Representations of German Identity as well as Memorialization in Germany Since 1945.
Advisory Board Members
Donna West Brett, University of Sydney, Australia
Nina LĂźbbren, Anglia Ruskin University, UK
Patrizia C. McBride, Cornell University, USA
Elizabeth Otto, University at Buffalo SUNY, USA
Annette F. Timm, University of Calgary, Canada
James A. van Dyke, University of Missouri, USA
Randall Halle, University of Pittsburgh, USA
Christophe Kone, Williams College, USA
Paul Jaskot, Duke University, USA
Qinna Shen, Bryn Mawr College, USA
Produktdetaljer
Biografisk notat
Deborah Ascher Barnstone is Professor of Architecture and Course Director for Undergraduate Studies at University of Technology Sydney, Australia.
Elizabeth Otto is Associate Professor of Art History and Visual Studies, State University of New York at Buffalo, USA.